Recording Electric Guitar Amp

Capturing electric guitar amplifiers involves translating the complex interaction between speaker, cabinet, and room into a recorded signal. The microphone selection and placement determine which aspects of the amp’s character make it onto the recording, making these decisions fundamental to the final guitar sound.

Microphone Selection for Guitar Amps

The Shure SM57 remains the industry standard for guitar amp recording, offering reliable results across genres and amplifier types. Its presence peak around 5-6 kHz adds clarity to guitar tones while the rolled-off low end prevents excessive bass buildup. The SM57’s ability to handle high sound pressure levels makes it suitable for cranked amplifiers.

Dynamic microphones like the Sennheiser MD421 and Electro-Voice RE20 provide alternatives with different tonal characteristics. The MD421 offers a brighter, more aggressive sound, while the RE20 captures fuller low-end response. Ribbon microphones such as the Royer R-121 deliver smooth, vintage-flavored tones that pair well with brighter amplifiers.

Condenser microphones bring detail and extended frequency response but require careful positioning to avoid harsh high frequencies. Large-diaphragm models work well for clean tones and jazz applications where capturing subtle dynamics matters.

Speaker Cone Positioning

Guitar speakers produce dramatically different tones across their surface. The center of the speaker cone, directly in front of the dust cap, generates the brightest, most aggressive sound. Moving the microphone toward the edge of the cone progressively warms and darkens the tone.

Most engineers find the optimal position somewhere between the center and edge, typically about halfway to two-thirds toward the outer cone. This location balances presence and warmth without excessive brightness or dullness.

Angle affects tone as well. Pointing the microphone perpendicular to the speaker cone captures the most direct sound. Angling the microphone off-axis reduces high frequencies and can tame overly bright amplifiers. A 45-degree angle represents a common starting point for off-axis positioning.

Distance and Room Interaction

Close-miking with the capsule one to four inches from the grille cloth captures primarily direct sound from the speaker. This approach isolates the amp from room reflections and provides a focused, punchy tone. Most rock and metal recordings utilize close-miking techniques.

Increasing distance introduces room ambience and allows the sound to develop naturally. Positioning a microphone several feet back captures the interaction between multiple speakers in a cabinet and includes early reflections from nearby surfaces.

Room microphones placed several feet or more from the amplifier capture the full room sound. Blending room microphones with close mics adds depth and dimension. Large, reverberant spaces create different results than small, dampened rooms.

Multi-Microphone Techniques

Combining multiple microphones provides tonal flexibility during mixing. A common approach pairs an SM57 near the cone center with a ribbon microphone positioned slightly off-center. The SM57 contributes bite and presence while the ribbon adds body and smoothness.

Phase relationships require careful attention when using multiple microphones. Distance differences between microphones cause phase cancellation at certain frequencies. Checking mono compatibility and adjusting microphone positions to minimize phase issues ensures consistent tone when tracks are summed.

Recording both close and room microphones to separate tracks allows balance adjustments during mixing. This approach provides flexibility without committing to a specific blend during tracking.

Volume and Cabinet Considerations

Speaker cabinets behave differently at various volume levels. Many guitarists prefer the tone of amplifiers pushed into natural saturation, though this creates challenges in home recording situations. Power attenuators and load boxes allow driving amplifiers hard while managing actual volume.

Cabinet size affects recorded tone substantially. Four-by-twelve cabinets produce fuller low-end response and more complex speaker interaction than single-speaker combos. Closed-back cabinets focus sound forward while open-back designs spread sound throughout the room.

Speaker choice within a cabinet dramatically impacts tone. Swapping speakers represents one of the most cost-effective ways to alter recorded guitar sounds without purchasing new amplifiers.